|
||
|
CD ReviewDestination Oblivion – “Decay”By Marcus Pan
Destination Oblivion has kept up a somewhat consistent release track record. In 2002 their first full length, Thirteen Beginning to the End, arrived and only two years after came Shock Therapy. Decay has a street date only...three days prior to my writing this review (June 25, 2005) which could actually be Legends' fastest review turnaround time in our history. But let's talk about Destination Oblivion rather than me. Guttural from beggining to end, Destination Obvlivion's work is clearly some of the heaviest industrial to hit my desk. It doesn't rely as strongly on keys, though they are there to add to the mix, and instead takes on a heavy metal feel as the music itself is built on the guitars. Not always a six string as Don't Believe, for example, utilizes a heavy slamming bass guitar to build on top of to a good effect. Life Through Death begins with a quiter bent, a slower grunge-style dirge. Deja Vu continues in this vein, getting even more moody and ethereal though raw at its edges. As it moves along like this, Coagulation becomes experimental and seems to lose its way momentarily prior to the stompy bass grooves of Process of Dehumanization. This one has a definite Korn bent to it, with stroppy bass, squealy guitars and guttural spoken word vocals. The slap bass is the best part of this track. Broken attempts to keep this Korn-bass style alive, but doesn't do nearly as well as its predecessor. Destination Oblivion retains an amateurish sound at times, a much less refined Manson or Dope Stars(1). The talent and the arrangement is there with few exceptions and Decay has for the most part a heavy industrial guitar-based sound. The amateurism usually comes out in a raw underground edge, but it can be said that if Trent Reznor never met Marilyn Manson and put them on Nothing records they could still be sounding very similar to Destination Oblivion. Contact Information: (1) Their 10,000 Watts of Pure Pleasures release was reviewed in Legends #142. |
|
Destination Oblivion still retains that heavy
underground feel. Thrashy and punchy, Decay is tight but rivetingly
metallic with a very dark metal feel. Manson-like and visiting similar veins
– corporate espionage, railing against the norm and all that good stuff
that made music a movement rather than simply a sound.
|
|
|